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Full text of "Eureka method for the banjo"

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EUREKA METHOD 



FOR THE BANJO 



BY 

SEPTIMUS WINNER 




8 66 s~. /<? 

I 



BOSTON 

OLIVER DITSON COMPANY 




MADE IN U. S. A, 



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Eureka Method 



For the Banjo 



By 

Septimus Winner 




8fiSC I 



Boston: Oliver Ditson Company 

New York : Chas. H. Ditson &> Co. Chicago : Lyon &* Healy 

Copyright, mcmxx, by Hannah J. Winner 



Lb^L 



MM* 



Correct Positions for Holding the Banjo, 




Position op the Left Hand. 



Position of the Left Hand in Making Harmonica 





Position of the Right Hand. 




Position of the Left Hand tn Making a Barre 




THE RUDIMENTS OF MUSIC. 



Bow is Music written f 

In various characters called Notes, upon five lines and their intermediate spaces. 

What are these Lines and Spaces called f 

They are termed a Stave or Staff, the lines and spaces being numbered from the lowest upward. 



5th line. 

4th line. 

3d line. 

2d line. 

1st line. 



4th space. 
3d space. 
2d space. 
1st space. 



What are Leger Lines f 

They are short, additional lines below or above the staff, that are used to indicate the notes that arp 
';oo high or too low to be represented upon the staff. 



— LEGEE LINES ABOVE. 



LEGKR LINES BELOW. — 



What are the different Notes in general use ? 

The Whole note. Half note. Quarter note. Eighth note. Sixteenth note. Thirty-second note. 



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When two or more eighths, sixteenths, or thirty-second notes follow in succession, bars are substi- 
tuted for hooks, as follows : 



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i-h — «h* d - 



1 






One bar, eighths. Two bars, sixteenths. 




Eighths and sixteenths. 



Thirty-seconds, 
three bars. 



Various other combinations are made, just according to the value of the notes 

What are Rests f 

Rests are characters denoting silence, and every kind of note has a corresponding rest. 

The Whole rest. Half rest. Quarter rests. Eighth rest. Sixteenth rest. Thirty-second rest. 



1- 



-r* ; 

Two hooks. 



Under 4th line. Above 3d line. To right. To left. 

What is the use of a Dot after any Note or Rest t 
It makes it half as long again. 

A whole note with a dot . is equal to J 

A half note with a dot J . is equal to J J 

A quarter note with a dot J . is equal to J J* 
What is a Triplet ? 



Three hooks. 



Dotted whole note. Dotted half note. 



I 



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151 



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is equal to 
Any three notes marked thus ^"J"^ to be played in the time of wr> 



is equal to 



How is a Double Triplet indicated? 

By the figure Six over or under them. «. 







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BANJO. 



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£ 

How are the Notes named?' 

The notes are named after the first seven letters of the alphabet, — A, B, C, D, E, F, G. 

How is the Pitch, or sound, of a note determined? 

By its position upon the staff, and the Clef at the left hand. 
How many Clefs are there in general use? 

Two, — the Treble clef || and the Bass clef §i 

Note. The treble clef is used for the high notes, the bass clef for the lower ones. 

The Notes on the Bass Clef. The Notes on the Tbeble Clef. 



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ABCDEFGABC CDEFGABCD 

Notice that we commence on the treble with the same note that we ended with in the bass. 
What effect has a Sharp ($) placed before a note? 



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G 



A 



It raises the pitch half a tone, or semitone. 



What effect has a Flat (?) placed before a note? 
It lowers the pitch half a tone, or semitone. 



i=a=s 



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F-Sharp. 



G G-Sharp. 



A-Sharp. 



i 



S 



:R- 



?•- 



B-Flat. 



A-Flat. 



G-Flat. 



What is the effect of a Natural (§)? 

It cancels the effect of a sharp or flat, and restores it 
to its former condition by either raising or lowering it. 



How it raises the pitch. How it lowers the pitch 



•^ A-Flat. A-Natural. C-Sharp. C-Natural. 
Note. Thus it is shown that the natural possesses the power of both the sharp and the flat. 



What is the effect of a Double Sharp (*) ? 

It raises the pitch of a note already sharp another half-tone. 



THE SAME AS M 

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F Double-Sharp same as G-Natural. 



How is a double sharp canceled? 

By the natural and sharp combined. 






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THE SAME AS 



fe 



F Double-Sharp. 



F-Sharp 



What is the effect of a Double Flat (V?)? 

It lowers the pitcn of a note already flat another half tone. 



S 



iSt 



thus. 

THE 8AME AS 



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How is a double flat canceled? 

By the natural and flat combined. 



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B-Flat. B Double-Flat same as A-Natural 

THE SAME AS 



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B Double-Flat. 



Where are the sharps and flats generally placed? 
They are mostly placed in front of the clef. 



B-Flat 



Signatures. 



or 



thus. 



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What are they termed in this position? 
The Signature. 

These sharps or flats affect all the corresponding notes throughout the piece 

A sharp on the fifth line signifies F-sharp; and all the F's are to be made sharp on that line, as 
Well as tho«io on the second space. 

A flat on the third line signifies B-flat; and all the B's, higher or lower, must also be made flat. 

BA./JO. 



Of Time. 

Bow is Time marked? 

By figures at the beginning of every piece, thus : — 

What do these figures indicate? 

The amount of time in each measure. 



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etc. 



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Measure. Bab. 



What constitutes a Measure? 

A portion of music between two upright lines called Bars. 

How many sorts of time are there? 

Two, — Common and Triple time. 

What is meant by Common time? 

An even number of parts to a measure ; as two or four, etc., thus : — 

What is meant by Triple time? 

An odd number of parts to a measure; as three or nine, etc., thus: — 



1 



i 



m 



frwm 



etc. 



etc. 



How is common time indicated? FlU — r g Y~^ I % I I 

By the letter c or the figures J | e t c ., following the clef, thus:— F ffi— _ \~^ RF^A 



% 



Double Bae. 



How much do we count to each measure? 

Four, — that is, one to the time of every quarter note. 

What does a Double Bar indicate? 

The close of a strain or the end of a tune. 

How is a Repeat expressed? 

By two or sometimes four Dots at the double bar, thus : — 

What is a Slur? 

A curved line drawn over or under one or more notes. 

How are slurred notes performed ? 

By playing smoothly and keeping down one note until the next is made. 



Repeat. 



1 



What is a Tie or Bind? 

A slur that binds two or more notes of the same name. 



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How are they performed? 

The first note only is made, but the finger kept down the full time of all. 



Examples of Various Degrees of Time, 

Count four. Count two. Count three. 



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Count six. 



Count three. 



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Count pour. 



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6 

In order to give the proper character and expression to all music, the most careful attention must be 
paid to the correct division of the notes. Every measure should be played in the same time as the first 
measure was commenced, neither faster nor slower. This mark > is used to indicate a particular accent 
or stress upon a note. Common time, and all other kinds expressed by the even numbers \%\ etc., 
must be accented upon the beginning and middle of the measure, thus : 




These accents are not marked, but are to be understood; it is only when particular force or stress is 
required to be given to a note that it is indicated by the mark. In | | and § time the accent occurs 
only upon the first note in the measure. 




iSig^gsfpEEfp 




riS5ipi=ri5 



-*-*++*+*!- 




It will also be observed in time indicated by the even numbers, that notes requiring bars across the 
stems are combined in groups of even numbers. And in 4 | and | they are tied together in groups of 
three. This is not always the case, but most generally so. 

When the unaccented part of a measure is to have a particular emphasis, it is shown by the characters 
fz or rf, or>, or a. And when the weaker part of a measure is made of more importance than the 
strong, such deviation from the regular accent is called Syncopation. 

Emphasis. Syncopation. 



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f z fr 




Double Bars indicate the end E 
of a strain and the conclusion of 
a tune, thus : — 

When the letters D. C., which signify Da Capo, are found over a double bar 



Two or four dots found upon the spaces 
of the staff, before or after a double bar, 
signify repetition. 




they indicate that the 
first part of the piece must be played again before proceeding to finish the piece. When found at 
the last strain they imply that we must return and finish with the first strain; but, if we find this charac- 
ter, /T\, which is called a Pause, over any doable bar, it signifies the end, or conclusion. The Pause is 
sometimes for another purpose: that is, when placed over a rest or note, the performer must dwell upon 
it; or can introduce an embellishment, such as he may think proper, for effect. 

This mark is called a Sign \fe. When it appears the second time, it signifies that we are to return to 
where it is first found, and finish at the pause, which occurs over the first double bar after it. 

Here we play the first and sec- 
ond strains, when the D. C. directs 
us to play the first part again, which 
makes the third strain ; and then we 



First Part. 






Second Part. D. C Fourth Part. Fine. ^ 

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Third Part 
skip the second part and proceed to the fourth strain and finish at the pause 



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First Part, ^fe Second Part. Third Part. /c\ 



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Fourth Part. ;/? 



After playing the first four 
parts, the *Ji appearing the 
second time directs us to 
where it appeared at first, 



Fifth Part. Sixth Part. 

when we play on until we come to the / > Ts . 

When the last note of a measure is influenced by an accidental flat, sharp, or natural, if the next 
measure should commence with the same note, it is also affected likewise, thus : 



■m w -r -w~k TXT T*T A Vliln 



Wbitten 



Plated. 



Written. 



Played. 



Rests are never connected by a tie, but are arranged one after 
the other until the required time is made up, thus : — 



m 



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When more than one Bar Rest is required, 
it is indicated as follows : — 



3EEI 



1 



E 



h|h=| 



2 bars. 3 bars. 4 bars. 5 bars. 6 bars. 

Note. The numbers of bars rest are usually marked by the figures over them, thus : — 



7 bars 
1 



8 bars. 9 bars. 



m^m 



etc. 



Dots are frequently used after rests to add to the time, in the same manner as applied to the notes. 

^1 



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is equal to 



Two dots following a note 
make it three-fourths longer than 
its actual length, thus : — 

When the slur or tie is placed over or under 
any combination of notes that are on different lines 
and spaces, it signifies that they must be performed 
in a smooth and connected manner, which is termed £ 
a Legato movement, and is written thus : — 

Dots placed above or below any series of notes 
indicate the opposite style of playing, which is termed 
Staccato, signifying in a marked and distinct s 
represented as follows : — 

When marked in this manner, each note 
must be made particularly short, and very 
distinct. 



3gjj£| §| 



___ is equal to _ 




Written thus : 



Played thus : 



£ ^jE ffija^ssfr^fei 



Wbitten. 



Plated. 



^^^ ^ ^ato^aa^jfE 



=P 



Written thus 

— t 




T+ 



When we find the legato and staccato movements combined, which 
mostly occurs in music written for the violin, it is played by detaching 
the notes with the movement of the bow in one direction, either up or 
down. 

The word Bis placed over one or more bars, signifies repetition. It is sometimes accompanied with 
the dots for repetition, or detached lines to indicate the number of bars repeated. 



ife 



Written. 



Example. 



Played. 






Written. 






8va^„^^.^+- written 
o er any number of 
notes implies that they 
are to be played eight 
notes, or an octave, higher until the word loco appears, which signifies as'written. 

Sharps and flats before a piece of music are called the Signature. 

W^here the Skniature is One Sharp, Two Sharps rhree Sharps, Four Sharps, Five Sharps, 

* 



Played. 




fe £ii £||e e£|| 



that sharp is always ^f, ^^fc, 



t 



Six Sharps, 

fcsjt-Sf- 



Seven Sh. 



Ate 



FCG, 



FCGD, 



FCGDA, 



"Where the Signature is One Flat, Two Flats, Three Flats, Four Flats, Five Flats, 

w " ^izE £fe= feS 



that flat is always *^ b, 



BE, 



BEA, 



'BEAD, 



'BEADG, 



FCGDAE, 
Six Flats, 

^EADGC, 



fi 



FCGDAEB. 
Seven Flats ; 

^BEADGCS 1 . 



BANJO. 



8 

Notes are afways connected in the most convenient 
form; for this reason we sometimes observe them in this 
manner : — 




Choice Notes. 




Written. 



ff^_ d — d d * Y^\'~^\ j 



Played. 



When the last 
two bars of a strain 
are marked lmo. and 
2mo. (that is, to be 
repeated,) it implies 
that when played the 
second time the 2mo. 
is to be substituted 
for the lmo., which is 
of course omitted. 




Written. 



fcffl 




*Z± 



d~ 



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Played. 



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or \-& 



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or 



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?Z 



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or 



2£ 



II 



Intervals. 

An Interval is the distance from any one tone or note to the following one. The smallest interval 
is that of a second. The first and last notes are included in counting the distance. 

A Second is the distance from 
any one note in the scale to the 
next IOllOWing one. "Intervals op a Second. Intervals op a Third. Intervals of a Sixth. 

It must be observed that the interval of a third is composed of three notes, E, F, G, or A, B, C, etc. j 
the intervals of a sixth, of sixth notes, E, F, G, A, B, C, or F, G, A, B, C, D, etc. 

Some intervals are small and others large. In the 
regular major scale we find tones and semitones in the 
following order: — 



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Tone. Tone. Semitone. Tone. Tone. Tone. Semitone. 



A semitone always between E and F, also between B and C, which are the third and fourth and 
the seventh and eighth notes of the scale; this is called the Natural Key, (because it has no signature 
of flats or sharps,) or the key of C, because the tones and semitones are calculated from the note C. 

Appoggiaturas; or, Grace Notes. 

The Appoggiatura, or Grace Note, is a small note, reversed and added to other notes for the sake 
of expression. Whatever length is given to the small note must be taken out of the time*of the prin- 
cipal note, which is the note immediately after it. There are two sorts of appoggiaturas, — the greater 
and the lesser. The greater appoggiatura is most frequently used in slow movements and at the end 
of a strain ; the lesser, in quick movements throughout a piece. 



Written. 



Played. 



i 



^gg 



Written. 



The Greater. 



^S 



Played. 



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3 



Written. 



The Lesser. 



pBip 



Played. 




Other Examples. 

rm.t 



l Written. 



C VV K1TTJ£M. 



Played, 



9 



Embellishments. Etc. 



What are Grace Notes or Appoggiaturas ? 

Small notes that are introduced for ornament or embellishment 

How are they performed ? 

The time is generally borrowed from the note that follows. £| 



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Weitten thus. 



Peeeormj 



1 



REFORMED. 



What does a dash through them signify ? 

That they are to be made shorter than the time indicated. 

When two grace notes follow a note how are they to be played? 

The notes are to be played as triplets. Thus : 



t±: 



•SSI1I1P 



Weitten. 



Perfoemed. 



What is a Turn? 

An ornament known by this mark sss placed over the note. 
How many different kinds are used? 

Three , — The Direct, Prepared, and the Inverted. See examples. 

Prepared Turns. 

ft 

£s£> '7SS '?Vt <s>s s\t 



Direct Turns. 

Weitten. 



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tt 



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1= 



-EP 



Inverted Turns. 

« -8 



1 




— i — 1 1 ■ — _ i — ' — *j 



What is a Shake or Trill ? 

An embellishment, made by playing a note and the next above it alternately and rapidly. 
How many kinds are in use ? 

Three — the Perfect, Imperfect, Transient or Mordent ( ~v ) 



Perfect Shake. 

tr Written. 



Imperfect Shake. Transient Shake or Mordent. 







What are Abbreviations ? 

Short methods of expressing Tremolos or Arpeggios. 
In what manner are they applied ? 

In repeating measures that occur a number of times in succession. 



Tremolos. 

Written. 






•s n r 



Arpeggios. 

Written. 

—i — <->t 



Written. 



Repeats. 




w 



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— k 



Played. 



Played 






d 9 A #-H-#H'#- a -r , «-f , -*r 1 ^-| 



Played. 




BAJfJO. 



10 



I 



G Majob. 



The Sharp Keys. 



T) Major 



$ mm 



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41 



§es 



£ 



*=* 



A Major. 



£fe 



*=ff 



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E Major. 



p 



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-# -#■ 



F Major. 



The Flat Keys. 



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E-Flat Major. 



£ » 



Sll 



B-Flat Major 






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ip 



-£*£d 



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mm 



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A-Flai Major. 



^ngpa 



The difference between the major and minor key is a minor third, (three semitones.) The major 
third contains two whole tones, (four semitones.) 

Examples. 

Scale in the Key of C, Major Mode. 



I 



Major Third. 



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is: 



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is: 



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221 



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The third in the minor scale contains one whole tone and a semitone. 



Minor Third. 



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Scale in the Key of A, Minor Modc 



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V- 



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is: 



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The relative minor of a major key has the same number of sharps or flats, and is found one minor 
third below the key-note. 

e Minor. The Minor Scales. bminob. 



§ 



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^^^ m fe^ f^r-^Fffr-^ 



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u. 



F-Sharp Minor. 



M* 



U 



C-Sharp Minor. 



$ 



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D Minor. 



^^IlSp^^ 






m 



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C Minor. 



jzfu^ti: 



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itf: 



P 



G Minor. 



-d 1 - 



^Sl 



F Minor. 






ifcfc 



fcf£* 



2Sl 



r-t-FH =I=== EJ 1 1 * ^Ea3 



The Chromatic Scale. 

This scale contains all the notes, natural, flat, and sharp, to D above the second leger-line. 




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BAB JO. 



11 



Transposition. 

Transposition signifies changing a composition into another key from that in which it is written. 
The scale consists of seven tones which are reckoned from the key-note upwards. From the first note 
to the second it is a whole tone ; also from the second to the third ; but from the third to the fourth it is 
only a semitone; the intervals from fourth to fifth, from fifth to sixth, and sixth to seventh are also 
whole tones; but from the seventh to eighth, or octave of the first, it is a semitone again. 



Example : 



i 



=J-= 



3= 



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-S=^I 



1 



Other scales than that of the key of C are frequently used, which are but copies of the scale of C 
placed on other degrees of the staff, with alterations by sharps and flats in order to represent the 
proper movement of the tones and semitones. If we begin to reckon from G in the scale of C, we find 
that a semitone occurs between the sixth and seventh note, which should be a whole tone ; and, vice 
versa, from the seventh to the eighth is a whole tone, which should be a semitone. 



Example : 



§ 



-&- 



-&- 



-&- 



£ 



a 



6 7 



In order, therefore, to make the degrees like that of the scale of C, we must use a transposition 
sign to make the interval from the sixth to the seventh larger, and that from the seventh to the eighth 
smaller. We, therefore, place a sharp ( j£ ) before the note F, which raises it a semitone, thereby making 
a whole tone from the sixth to the seventh, and a semitone from the seventh to the eighth. 



Explanation : 



% 



e 



=i=2: 



*= 



¥. 



The sharp affects every F, whether upon the first space or the fifth line, and is always situated at 
the commencement of a piece, close to the clef. In the like manner to form the scale of D we must 
not only put F-sharp in the place of F, but C-sharp in the place of C, and all other scales according to 
their previous arrangement in this work. 

In order to form the scale of F, it becomes necessary to place a flat ( \> ) before B for similar rea- 
sons, or in a manner for a reason opposite of that which we mentioned in the foregoing case, namely, in 
order to make the interval from third to fourth a semitone, whereas it would otherwise be a whole 
tone, thus : — 




§ 



-ri— & 



M 



-&- 



-&- 



]] 



The signature of 
one flat 13 alwayi 
placed at ilie be- 
ginning. 



In the like manner we find that the key of B-flat requires two flats, namely, B-flat and E-flat. 
The key of E-flat requires three flats, etc., etc. 

In order to assist those who have not time to study the foregoing remarks in regard to transposi- 
tion, on the following page will be found a set of scales intended for their accommodation, which are 
explained as follows: If we have an air in the key of C, commencing with the note C,and wish to 
transpose the same to the key of G, or one sharp, we find under the given note C, the note G, which 
must be taken in its place, and so on through the entire piece, always finding the coirespondiug note of 
the new key directly under the note to be transposed. 



12 

Key of C. 

Key of G. 
Key of D. 
Key of A. 

Key of F. 
Key of B-flat 

Key of E-flat 



Scales for Transposition. 



S^liicllgli^iiiillflfetii 



£=£41* 



IB 




A Dictionary of Musical Terms. 



DEGREES OF MOVEMENT. 

To make known the Degree of Movement, whether fast 
or slow, with which a piece of music is to be played, several 
Italian and other words are employed ; such as — 

Grave, slow and solemn. 

Largo, slow. 

Larghetto, slow and measured. 

Adagio, very slow. 

Lento, in slow time- 

Andante, somewhat slow and sedate. 

Andantino, faster than Andante. 

Allegro, quick, lively. 

Allegretto, not so quick as Allegro. 

Moderato, in moderate time. 

Presto, very quick. 

Da Capo, or D. C, from the begining. 



Dal Segno, from the sign ; a mark of repetition. 
Orazioso, gracefully. 
Vivace, with vivacity. 
Dolce, a soft and sweet style. 
Chromatic, proceeding by semitones. 
Pastorale, a soft and rural movement. 
Rallentando, a gradual diminution. 
Tempo Giusto, in short time. 
Tempo Primo, in the first time. 
Volti Subitoov V.8., turn over quick. 
Legato, in a smooth manner. 
Piano, or p., soft. 
Pianissimo, or pp., very soft. 
Forte, or /'., loud. 
Fortissimo, or #'., very loud. 
Maestoso, with majestic expression. 



Of the Banjeaurine. This is an instrument identical with the Banjo, differing only in its proportions; the size of the 
head being about twelve inches in diameter, and the neck, or fingerboard, ten inches long. It is fretted and played just 
as the regular banjo. In order to play it with accompaniment it must be tuned as follows, being a minor third higher 
than the regular order of tuning. 

First tune the Banjo with the Piano to get the proper pitch, then proceed as follows : 
Tune the A String to C. Tune the E String to G. Tune the Gf String to B. Tune the B String to D. Tune the E String to G. 



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BASS STRING. 



THIRD STRING. 



SECOND STRING. 



FIRST STRING. 



SHORT STRING. 



After having tuned the Banjo as explained above, tune the bass string of the Banjeaurine in unison with the fifth fret 
of the Banjo, D, then tune the third an octave above the regular bass of Banjo open, and proceed the usual way. The 
notation of the Banjeaurine is a fifth higher than the regular banjo. 

When the Banjeaurine plays in four sharps ( Key of E ), the Banjo plavs in A (or three sharps). 

When the Banjeaurine plays in three sharps ( Key of A ), the Banjo plays in D ( or two sharps). 

note. In playing duets with the Banjo and Mandolin, tune the second, or A, string of the Mandolin in unison with the A, or Bass, 
string of the Banjo; both playing in the same key. 

In playing duets with the Banjo and Guitar, tune the A, or fifth, string of the Guitar in unison with the A, or Bass, string of 
Ihe Banjo-, both playing in th. same key. 

BANJO. 



L^> 



EUREKA METHOD 

FOR THE 

BANJO. 



G- 



C 



Of the Banjo. This instrument is made of many patterns and of all sizes, some having quite 
a number of strings and too many screws for convenience or use, which is altogether unnecessary, 
making it heavy and cumbersome. 

The most popular kind is that having five strings, and as all music is prepared for such, it is by 
far the most desirable for learners. 

Directions for Stringing the Banjo. The finest string is called the 1st; the next in size, 
the 2nd; the next, the 3rd. The 4th is generally known as the bass, and the short one, as the 5th, or 
thumb-string. 

Place the bridge back of the centre of head near the tail-board, make the notches for the strings 
a convenient distance apart, so that the fingers may easily command them. 

Never use heavy strings for this instrument, as they require to be so tightly drawn as to give a 
harsh and unpleasant tone. Thin strings allow a more full and easy vibration, and give a decidedly 
better tone, nor are they so likely to be broken, by change of weather. Thick strings, though 
stronger, require so much tighter tension to give the proper pitch, that they seldom stand the strain 
for any length of time. Therefore, to avoid unnecessary trouble, use all strings as thin as possible. 

Of Holding the Banjo. Let the neck of the instrument rest lightly upon the thumb of the 
left hand, with the head rather elevated, so that the hand can be easily moved along the finger-board,and 
the fingers obtain a good position upon the strings. • Sit in an easy posture, with the instrument rest- 
ing upon the lap ; be careful to balance it well, so that the hand need not make an effort to grasp it. 
A free and easy movement of the left hand is necessary to aquire a graceful and stylish manner 
of performing. 

Picking and Striking the Banjo. There are two styles of playing the banjo:— the 
first or picking style being the most used. Rest the little finger on the head, near the bridge, pick 
the third, fourth and fifth strings with the thumb; pick the second string with the first finger, and the 
first string with the second finger. After sufficient practice, the pupil should learn to»use three fin- 
gers by picking the third string with first finger, second string with second finger, and first string 
with third finger. This facilitates execution. The striking style is now mostly used for military 
marches, etc., and is readily mastered, after the pupil has made himself familiar with the picking style. 

How to Tune the Banjo. Tune the 4th string to a C tuning fork or pitch pipe> ^en 
place the finger on the 4th string at the 7th fret, making the tone G, and tune the 3rd string in unison. 
Place the finger on the 3rd string, at the 4th fret, making B, and tune the 2nd string in uni- 
son; then place the finger on the 2nd string, at the third fret, making D, and tune the 1st string in 
unison; then place the finger on the 1st string, at the 5th fret, which gives the tone G, and tune the 
5th string in unison. A F G# B F 

The Banjo in tune, will sound the following ^ . 

notes on the open strings 



The note E on the short string, is generally 
indicated by a double stem in form of an eighth 
note, thus: J\ 

Of the Frets. For those who wish to mark the distances, it may 



i 



i] 



4th 



3rd - 



1st 



5th 



2nd 

be well to state, that the 
distance between the bridge and the nut should be divided into eighteen parts. The first fret would fall 
one-eighteenth from the nut, then divide the remaining distance into eighteen parts, and the position 
is at once determined for the second fret; proceed in the same manner until you have aquired twelve 
frets, which will fall upon the middle of the string. It must be remembered that the bridge rau«t al- 
ways stand in exactly the same place, after the frets are once regulated from its position. 

The Natural Scale of the Banjo. 

Showing the frets at which the notes of the scale are made. 
C# D E F# G# A B Cjf D E ^ 




BAN.ro. 



7th F. 9th F. 10th F. 
1st String. 

(13) 



14 



Of the Chords. 



A Chord is two or more sounds struck to- 
gether and played as one. 

Harp Chords are used in both Banjo and 
Guitar styles. The notes comprising the chord 
are played in rapid succession, one after the 
other from the lowest note upward. 

Of the Barre. 

In making the Barre Chord, place the fore- 
finger across the width of the fingerboard. The 
thumb placed in the centre of the back of the neck, 
so that the fore-finger presses firmly down, thereby ~ ]T W 
preventing the slightest vibration of the strings. F ^y — 
The figures indicate the fingers of the left hand. 



Example. 




Barre Chords. 



5th position, Barre. 5th position, Barre. 7th position, Barre. 



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Scale, or Gamut. 

Showing the fingering of the Notes with the Left Hand. 
In the Key of A, Three Sharps. 



ITth String. 
Open. 
Left Hand. E 



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4th String. 
Open. 2nd F. 
A B 



2nd. 3rd. 

CJf D 



3rd String. 
Open. 2nd. 

E F# 



2nd String. 
Open. 1st. 

«# A 



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Thumb.X 
Bight Hand. 



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\ 1st String. 




Open. 


2nd. 


3rd. U 


B 


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2nd. 4th. 

E Fjf 



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3rd. 4th. 
Gtt A 



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The Open Notes. 

2nd String. 1st String. 



Plan of the Fingerboard. 

Showing the Notes in the First Position. 



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G# 



B 



1 



Bass String. Third Strin' 



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A 



E 




1st string. 

2nd string. 

3rd string. 

4th or Bass, wire string. 

5th or thumb string. 



Before practicing ths scale, be sure the Banjo is in good tune. It can be tested by trying the 
following notes upon the open strings, which will play the familiar strain of " Where did you get that 
hat?" 




* — ^ — t — n 



Where did you 

First Exercise. 



get that hat? 











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BANJO. 



Second Exercise. Waltz. 



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Fourth Exercise. Dance, 

The " Snap " is made by pulling the string with the finger of the left hand which is used to make 
the previous note. Thus, in the following exercise, pick D as usual with the right hand and snap with 
the left hand to B, the open note. 



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1) 

Plan of the Fingerboard. 

Showing the notes to be made on the strings of the Banjo up to the tenth fret. The short fifth 
string or " thumb string " is only used for one note, and is always played open E, thus — p— . There- 
fore we have only four strings on the Banjo to make closed notes ; on 1st string, 2nd string, 3rd string 
and Bass or 4th string. 



lOififrel 



Chords in A Major. 




FABtO. 



18 



The Chords Illustrated. 



Diagrams of the banjo finger-board showing the fingering of chords in various keys. The figures near the black 
dots designate the fingers of the left hand to stop the frets. Q means the open string. 



CHORDS IN A MAJOR. (3 sharps.) 

(The natural or easiest key of the banjo.) 



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CHORDS IN Ffl MINOR. 



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The Chords Illustrated. 
CHORDS IN Off MINOR. 



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20 



E-Major. Four Shk. . 



The Scales Illustrated. 

The Scales with Sharps. 



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A-Majcr. Three Sharps. 

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D-Major. Two Sharps. 



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>■■ The star indicates that the open string is not in service. 

BANJO. 



The Scales with Flats. 



21 



C Major. Natural Key. 



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2nd. 
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F Major. One Flat. 



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B-flat Major. Two Flats. 




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E-flat Major. Three Flats. 



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* The star indicates that the open string is not in service. 

BANJO. 



J2 



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4th string. 
2 3 



f 



The Study of the Scales and Chords. 

The Major Scale in C. 



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1 



V string. I 1 



1st string. 
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4th string. 
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Chords in C Major. 

3rd Pos. Barre. 5th Pos. 5th Pos. 4th Pos. 5th Pos. 



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3rd string. 



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Chords in the Minor Scale of A. 



4th Pos. 



5th Pos. 



8th Pos. 



3rd Pos. 



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Major Scale in G. 



3 string. V 2nd string.!/ 1st string. \| 5th string, y 11 5th string. \| 

4 II 10 1 4 I I 1 a 1 f I 



4th Pos. 




V 2nd string. V 



3rd string. 
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3rd Pos. Barre. 3rd Pos. 3rd Pos. Barre. 2nd Pos. 1st Pos. 2nd Pos. 3rd Pos. 3rd Pos. 




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3rd Pos. 



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2 



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Y2nd string.]/ 3rd string. 
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7th Pos. 7th Pos. 



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7th Pos. 






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23 



Major Scale in D. 




5 th Barre. 



2nd Barre. 



7th Bar. 



Chords in D. 

5th Bar. 5th Bar. 3rd Bar. 7th Bar. 1st Position. 5th Bar. 





4th string. 
2 2 



Relative Minor Scale in B. 



y 3rd string. y 2nd string, y 1st string. || 

4 2 3 2 " 



2nd string. 
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3 2 



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4th string. 
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7th Pos. 



Chords in the Minor Scale of B. 



3rd Pos. 



9th P. 



7th Pos. 



7th Pos. 



5th Pos. 



Major Scale in A. 



4th string. 
2 2 



3rd string. 
2 



2nd string. 
10 



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2 



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2nd Pos. 




4th string. 
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Chords belonging to the Minor Scale in the Key of F-sharp. 

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24) 



Major Scale in E. 




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3rd string. V 2nd string. V 1st string 

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Relative Minor Scale in C-sharp. 



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Chords in the Minor Scale in the Key of C-sharp. 

2nd Pos 5th Pos. 7th Pos. 4th Pos. Barre. 




Major Scale in F. 



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1 3 1. 2. 1 4 



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Relative Minor Scale in D. 



Major Scale in B-flat. 



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V 3rd string, y 
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Relative Minor Scale in G. 



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25 



Major Scale in E-flat 





4th string. 

1 3 



Relative Minor Scale in C. 



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3rd string. 

1 3 4 

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V 4th string. 
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Major Scale in A-flat. 



3rd string. 



2nd string, y 1st string. 
2 I ] 2 




1 
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(2nd stringy3rd string. 



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Relative Minor Scale in F. 



3rd string. 



2nd string. 
2, 



1st string. 
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2nd string, w 3rd string. 
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1st Positio'n. 



Exercise in Barre Chords. 

2nd Position. 5th Positit a. 7th Position. 5th Position. 7th Position. 



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7th Position. 



5th Position. 5th Position. 



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5th Position. 7th Position. 8th Position. 

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Various Chords in all Positions. 



5th Pos. 5th Pos. Barre. 2nd Pos. 



2nd Pos. 




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13- 



5th Pos. 



5th Pos. 



1st Pos. 




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6th Pos. 



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4th Pos. 



3rd Pos. 



2nd Pos. 



4th Pos. 



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1st Pos. 



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26 



March. 

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27 



Danse Africaine. 



3 3 



J. FRANCIS GILDER. Op. 24. 



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28 



Spanish Fandango. 

Tune the fourth or bass string to B, one note higher. 

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At the word " strike" the first finger of the right hand must glide quickly over the strings. 
Allegro. 



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The Mocking Bird. 



29 



SEP. WINNER. 



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Moderato. 



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Old Folks at Home. (Suwanee River.) 



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D C : " T&m 

Copyright, mdcccxci, by Oliver Ditson Company. 



30 



Crown March. 



Introduction. 
Tune Bass to B. 



THOMAS J. ARMSTRONG. 






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32 



Mandolina. (Mexican Serenade.) 



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33 



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34 



Boulanger's March. 






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BANJO- 



Allegretto. 



Spanish Serenade. (Paloma.) The Dove. 



35 



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36 



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SAJJJO. 



38 



Triumph March. 

Banjo Solo. 



a*k 



Spiriloso. 



THOMAS J. ARMSTRONG. 
t4 



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40 



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46 



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Valse Espagnole. (Banjo Duet.) 



Tempo di valse 

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Copyright, mdcccxc, by Oliver Ditson Compajty. 



47 



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48 



Electric Sparks Waltzes. 



By A. BAUR 



Introduction. 



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49 



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50 



Nanon Waltz. 



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51 



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52 



La Gitana Waltz. 



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56 



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64 



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The shades of night were fall-ing fast, Tra la la, 

His brow was sad, his eye be-neath, Tra la la, 

"Oh stay," the maid-en said, "and rest", Tra la la, 

Banjo. __.—»»_ ^-«* 



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tra la la, As thro' an Al-pine vill-age passed, 
tra la la, Flashed like a falchion from its sheath, 
tra la la, "Thy wea - ry head up-on this breast," 



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Tra la la la la! 
Tra la la la la! 
Tra la la la la! 



A youth, who bore, mid snow and ice, A ban -ner with this strange de-vice, 

And like a sil - ver clar - ion rung The ac-cents of that unknown tongue 

A tear stood in his bright blue eye, But still he answered with a sigh 



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Roll the tongue in singing the l r\ 




4 At break of day, as heavenward, 
Tra la la, etc. 
The pious monks of St Bernard, 

Tra la la, etc. 
Uttered the oft repeated prayer, 
A voice cried thro' the startled air 
Cho. U pi - dee, etc. 



5 A traveler by the faithful hound, 
Tra la la, etc. 
Half buried in the snow was found, 

Tra la la, etc. 
Still grasping in his hand of ice, 
That banner with the strange device 
Cho. U - pi - dee, etc. 



BANJO. 



70 



Banjo 



il U X5ANJO. . 



Johnny, Get Your Hair Cut. 



MARK MASON. 



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Jer - sey, Where 
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the wa - ter 
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Dwells a youth who whis - ties ev - er This 
On the cor - net and the ka - zoo, Ev 



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John-ny,get your hair cut, hair cut, hair cut, John-ny, get your hair cut like a sport. 




John-ny, get your hair cut, hair cut, hair cut, John-ny, get your hair cut, hair cut short. 




8 Up in Manayunk tbe mill hands 
Make the hills and valley ring, 
When the long day's work is over, 
As they travel home and sing : — 
Johnny, get your hair cut, etc. 

■i Every cbeap and flve : cent barber, 
Tries to make his business pay, 
So his sign upon the shutter 
To the crowd is made to say : — 
Johnny, get your hair cut, etc. 



5 Many folks are fond of music, 

Some, they like it not at all, 
Get your gun if any neighbor 
In your ear begins to squall : — 
Johnny, get your hair cut, etc. 

6 Now my song at last is ended, 

Let me give yon all a rest, 
Never more to find me singing, 
This old tune we love the best ! 
Johnny, get your hair cut, ete. 



Bait jo. 



By permission of Sep. Winkeb & Soh. 



71 



Ellie Rhee. ( Carry Me Back to Tennessee.) 



SEP. WINNER. 



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1. Sweet El - lie Rhee,so dear tome Is gone forev-er- more; 

2. Ob, why did I from day to day Keep wishing to be free, 

3. They said that I would soon be free,And hap-py all de day, 

4. De war is ob - er now at last, De color'd race am free, 
Banjo. , , , i , , , -i i 



Our home was down in Ten-nes-see Be- 
And f rom my mas-sa run a- way, And 
But if dey take me back a-gain I '11 

Dat good time com-in' on so fast I'se 



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fore the cru - el war. 
leave my El - lie Rhee. 
neb - er run a - way. 
wait-in' for to see. 



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Then carry me back to Ten-nes - see, 
Then carry me back to Ten-nes - see, 



Back where I long to be 
Back where I long to be 



Then carry me back to Ten-nes - see, Back where I long to be 
Then carry me back to Ten-nes - see, Back where I long to be 



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mong the fields of yel - low corn, To my darling El - lie Rhee. 



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Old Folks at Home. (Suwanee Ribber.; 



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1. Way down up -on de Suwa - nee 

2. One lit - tie hut a - mong de 

3. All round the lit - tie farm I 



rib - ber, Far, far 

bush - es One, dat 

wan - dered, When I 



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Dere 's where my heart is turn - ing eb - ber, Dar 's where de old folks stay. 
Still sac 1 • ly to my mem -'ry rush - es, No mat - ter where I rove. 
Den man - y hap - py days I squandered, Man - y de songs I sung. 



All up and down de 

When will 1 hear de 
When I was play-ing 



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whole ere - a - tion Sad 
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wid my brudder, Hap 



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round de comb? 
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Still long-ing for de old plan - ta - tion, 

When will I hear de Ban - jo tumming, 

Oh, take me to my kind old mudder, 




And for de old folks at home. 
Down in my good old home? 
Dar let me live and die. 



All de world am sad and drear-y, Eb - 'ry where I 



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Oh, darkies, how my heart grows weary, Far from de old folks at home 



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Listen to the Mocking Bird, 

Composed and arranged by SEP. WINNER. 



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1. I'm dream -ing now of Hal-ly, sweet Hal-ly, sweet Hal-ly, 

2. Ah ! well I yet re - mem-ber, re - mem-ber, re - mem-ber, 

Banjo 



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I 'm dream-ing now of 
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Ha - ly, For the tho't of her is one that never dies ; 
member When we gathered in the cotton side by side; 



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She 's sleep - ing in the valley, the 

'T was in the mild Sep - tem-ber, Sep 




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mocking bird is singing where she lies, 
mocking bird is singing far and wide. 



Listen to the mockingbird, 
Listen to the mocking bird, 



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Listen to the mocking bird, 
Listen to the mocking bird, 



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sing-ing where the weeping willows wave. 



mock-ing bird now singing on her grave. 



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74 



The Waterfall. (Yodle.) 



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1. Down the mountain side doth a streamlet glide, Tra la, la, In the 

2. There where water sweeps and the chamois leaps, Tra la, la, When the 



Banjo. 



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sun - niest spot stands a lit - tie cot, Tra, la la, 
birdlings sing and the yod - lings ring, Tra, la la, 



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gar - den there, sits my sweetheart fair, Tra, la la, Gives me 

sweetheart kind, is my heart and mind, Tra, la la, By my 



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many a kiss that she '11 nev - er miss, Tra, la la. 
dar - ling's side let me e'e a - bide, Tra, la la. 



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Deitcher's Dog. 



Tune the bass string to B, one note higher than the regular scale. 
l Voice. 



SEP. WINNER. 




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1. Oh where, oh where ish my lit - tie dog gone, Oh where, 

2. I loves mine la - ger, 't is ver - y goot beer, Oh where, 

3. A - cross the o - cean, in Gar - man - ie, Oh where, 



oh where can he be? 
oh where can he be? 
oh where can he be ? 



4. Ein sas - sage ish goot, bol - o - nie, of course, Oh where, oh where can he be? 
Banjo. 



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ears cut short und his tail cut long, Oh where, oh where ish he ? 

mit no raon - ey, I can - not drink here, Oh where, oh where ish he ? 

Deitch - er's dog ish der best com -pan- ie, Oh where, oh where ish he? 



makes um mit dog und dey makes em mit horse, I guess dey makes em mit he. 



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76 



Banjo. 



Little Annie Rooney. 





Voice. 



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1. A win-ning way, a pleas- ant 

2. The par-lor's small, but neat and 

3. We've been en - gaged close on a 



sniile, Dressed so neat hut quite in style, 

clean, And set , with taste so sel - dom seen, And 
year; The hap - py time is draw - ing near, I'll 





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Ev - 'ry ev - 'ning, rain or shine, I make 

fire burns cheer - ful - ly and bright, With fam 
friends de - clare I am in jest, They think 



a call, 'twixt eight or nine, On 

'ly cir - cle round each night, We 

that I'm just like the rest, But 



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Lit - tie An 
Lit - tie An 
Lit - tie An 



nie Roo 
nie Roo 
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Don't Forget Dar's A Weddin' To-Night. 

END SONG AND CHORUS. 
Words by J. W. WHEELER. 

Voice. 



Music by H. J. BALLOU. 
Arr. by A. A. BABB. 




1. Don 't for - get dar 's a wed - din' in de old town hall, And de coons am a lay - in' 

2. Won't de coons look sas - sy in dere low - cut shoes, And dere hair cut pom - pa- 

3. For it 's hun - gry Pe - ter and his Cous • in Sue, Will jine de bonds ob 




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And dar'sgwine ter be a big swell ball, Wid a cop out - side do 

Won't de old maids shout, to hear de news, And de pic - can - nin - ies 
And de coon who '11 splice dat knot like glue, Am de Reber - and Un - cle 



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Oh, we won 't go home till de day 's let loose, And we '11 jine dat pair so 

Dar '11 be chick - en roast, and de juice smells sweet, Wid de fix - ins crisp and 

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De wine will fly, de gals will eat, At de wed - din' ball to - night, Den 

Dar 's eat - in' big for dis yer child Fore de wed - din' ball am froo, Den 

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BAHJO. 



CONTENTS OF EUREKA METHOD FOR THE BANJO. 



iludiments of Music. Notes and Rests 


3 


Sharps, Flats, etc. 


. 


4 


Of Time .... 


. 


5 


Musical Characters, etc. 


. 


6 


General Remarks . 


, 


7 


Of Intervals, Grace Notes, etc. 


. 


8 


The Shake, Embellishments, etc. 


, 


9 


Scales: Major, Minor, and Chromatic 


10 


Transposition, with Scales, etc. 


. 


. 11 


Dictionary, Musical terms 


. 


12 


Of the Banjo, Position, Tuning, 


Frets, etc 


13 



Illustrated Manner of Holding the Banjo 

Of the Chords and Scale or Gamut 

First Exercises 

Plan of the Fingerboard, with Chords 

The Chords, Illustrated . 

The Scales, Illustrated ( Sharps ) 

(Flats) 
The Study of the Scales and Chords 
The Chords in all Positions 
Chord Accompaniments . 
Chords in the positions . 



15 

17 
18 
20 
21 
22 
25 
67 
68 



POPULAR AND STANDARD MELODIES. 



Africaine Danse . 

Black Hawk Waltz . 

Bine Bells of Scotland (Variations ) 

Boss Clog Dance . . . , 

Boulanger's March . 

Bound Brook Polka . 

Called away : 

Carry Me Back to Tennessee (Vocal ) . 

Character Dance . 

Comrades Waltz . 

Crown March . . . 

Danse Africaine . . . . 

Deitcher's Dog. (Vocal ) 

Don'tForget Dar 's a Weddin' To-night 

Dove (The ) (Spanish Air) . 

Dudes' March . 

Electric Sparks Waltzes . 

Ellie Rhee (Vocal ) . . 

Emmet's Lullaby . . . . 

Enniscorthy Schottische 

Erminie March . 

Exercise Waltz, Polka, and Dance 

Everest's March . . . . 

Everest's March (Banjo Duet ) . 

Exercise Jig . 

Few Days' Jig . 

Flowers that Bloom in the Spring 

Gasparone Waltz . 



27 


Gitaua Waltz ..... 


52 


57 


Happy Birdling Polka 


63 


53 


Hoist Up the Flag (Hornpipe ) . 


54 


55 


Home Sweet Home .... 


16 


34 


Hornpipe Polka .... 


61 


16 


I Whistle and Wait for Katie . 


57 


66 


Johnny Get Your Gun ( Dance ) 


33 


71 


" Hair Cut ( Vocal) . 


70 


60 


Juba Jig ...... 


66 


55 


Killaloe ...... 


66 


30 


Little Annie Rooney ( Vocal ) . 


76 


27 


Little Fishermaiden Waltz 


36 


75 


Lovers' Quarrel (Waltz) . 


60 


78 


Mandolina ..... 


32 


35 


Mary and John .... 


60 


62 


Melodic Exercise .... 


28 


48 


Merry Go-round Waltz 


42 


71 


Mexican Serenade .... 


32 


65 


Mikado Medley March 


26 


63 


Waltz 


26 


43 


Mocking Bird (Instrumental) 


29 


15 


" (Vocal) . 


73 


44 


Nanon March . . . 


58 


44 


Nanon Waltz ..... 


50 


14 


Old Folks at Home (Instrumental) 


29 


16 


" (Vocal) 


72 


26 


Old Oaken Bucket .... 


37 


42 


Paloma 


35 



Pizzicato (Sylvia ) . . . .41 

Poor Jonathan Waltz . . .64 

Ra tling Clog Dance . . . .54 

Razzle Dazzle Dance . . . .37 

Royal Clog 54 

Rummels Grand March . . .59 

Santiago Waltz ( Banjo Duet ) . .46 

See - Saw Waltzes . . . .51 

Shepherd Boy . . . . .65 

Skirt Dance 33 

Smith's Popular March . . .56 

Snap Waltz 15 

Spanish Fandango . . . .28 

Spanish Serenade . . . .35 

Suwanee Jig . . . . .37 

Suwa nee River (Instrumental) . .29 

(Vocal) . . .72 

Then You Wink the Other Eye . .59 

They 're After Me . . . .58 

Thimble Jig 43 

Tidd?ey Winks Dance . . 16 

Triumph March . . . .38 

Upidee ( Vocal ) . . . .69 

Visions of Rest Waltz . . .46 

Watermill ( The ) ( Dance ) . . 37 

Waterfall (The) (Yodle) (Vocal) . '-4 



9-UfJO. 









Boston Public Library 
Central Library, Copley Square 

Division of 
Reference and Research Services 

Music Department 



The Date Due Card in the pocket indi- 
cates the date on or before which this 
book should be returned to the Library. 

Please do not remove cards from this 
pocket. 







APR 1 4 1926 



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